| Summary: | 碩士 === 國立臺灣大學 === 建築與城鄉研究所 === 102 === By studying and examining the creative clusters in the Zhongshan Shuanglian District in Taipei city, this research explores the culture-turn of urban governance and the situation of cultural workers. First, I adapt the concept of “Power-geometry” that comes from Doreen Massey not only to illustrate that because of unequal social position, different social groups and individuals master different social resources and play uneven influence, but also to point out the creative clusters in Zhongshan Shuanglian District, as “creative/design-district”, was artificial construct in Taipei.
Second, I discuss the spatial conditions of creative cluster, by depicting street appearance, green park distribution, architectural form, auto parts repair industry and the historical development of Zhongshan Shuanglian District, and analyze the creative milieu that attract creative workers. In addition, this article recall the urban culture governance in Taipei and point out the public-private partnership network and then focus on some creative actors.
This article attempts to point out that the diverse interpretations of "creativity" highlight boundary dissolution in public cultural imagination. In Zhongshan Shuanglian, hairstyle workers, fashion designers and metal-jewelry artists’ social status upgrade from low-end to high-end, reflecting the culture crossover. Everyday life outside fine art has gradually been incorporated into the cultural and creative areas. However, even cultural boundaries become flexible, the capital profit-seeking logic make cultural workers still like nomads, were driven by rent and urban renewal issues, constantly looking for affordable shelter in the city place.
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